Nor should we be surprised at this. The Spanish national character, as it has existed from its first development down to our own days, was mainly formed in the earlier part of that solemn contest which began the moment the Moors landed beneath the Rock of Gibraltar, and which cannot be said to have ended, until, in the time of Philip the Third, the last remnants of their unhappy race were cruelly driven from the shores which their fathers, nine centuries before, had so unjustifiably invaded. During this contest, and especially during the two or three dark centuries when the earliest Spanish poetry appeared, nothing but an invincible religious faith, and a no less invincible loyalty to their own princes, could have sustained the Christian Spaniards in their disheartening struggle against their infidel oppressors. It was, therefore, a stern necessity which made these two high qualities elements of the Spanish national character,—a character all whose energies were for ages devoted to the one grand object of their prayers as Christians and their hopes as patriots, the expulsion of their hated invaders.
But Castilian poetry was, from the first, to an extraordinary degree, an outpouring of the popular feeling and character. Tokens of religious submission and knightly fidelity, akin to each other in their birth and often relying on each other for strength in their trials, are, therefore, among its earliest attributes. We must not, then, be surprised, if we hereafter find, that submission to the Church and loyalty to the king constantly break through the mass of Spanish literature, and breathe their spirit from nearly every portion of it,—not, indeed, without such changes in the mode of expression as the changed condition of the country in successive ages demanded, but still always so strong in their original attributes as to show that they survive every convulsion of the state and never cease to move onward by their first impulse. In truth, while their very early development leaves no doubt that they are national, their nationality makes it all but inevitable that they should become permanent.
CHAPTER VI.
Four Classes of the more popular early Literature. — First Class, Ballads. — Oldest Form of Castilian Poetry. — Theories about their Origin. — Not Arabic. — Their Metrical Form. — Redondillas. — Asonantes. — National. — Spread of the Ballad Form. — Name. — Early Notices of Ballads. — Ballads of the Sixteenth Century, and later. — Traditional and long unwritten. — Appeared first in the Cancioneros, then in the Romanceros. — The old Collections the best.
Everywhere in Europe, during the period we have just gone over, the courts of the different sovereigns were the principal centres of refinement and civilization. From accidental circumstances, this was peculiarly the case in Spain, during the thirteenth and fourteenth centuries. On the throne of Castile, or within its shadow, we have seen a succession of such poets and prose-writers as Alfonso the Wise, Sancho, his son, Don John Manuel, his nephew, and the Chancellor Ayala, to say nothing of Saint Ferdinand, who preceded them all, and who, perhaps, gave the first decisive impulse to letters in the centre of Spain and at the North.[164]
But the literature produced or encouraged by these and other distinguished men, or by the higher clergy, who, with them, were the leaders of the state, was by no means the only literature that then existed within the barrier of the Pyrenees. On the contrary, the spirit of poetry was, to an extraordinary degree, abroad throughout the whole Peninsula, so far as it had been rescued from the Moors, animating and elevating all classes of its Christian population. Their own romantic history, whose great events had been singularly the results of popular impulse, and bore everywhere the bold impress of the popular character, had breathed into the Spanish people this spirit; a spirit which, beginning with Pelayo, had been sustained by the appearance, from time to time, of such heroic forms as Fernan Gonzalez, Bernardo del Carpio, and the Cid. At the point of time, therefore, at which we are now arrived, a more popular literature, growing directly out of the enthusiasm which had so long pervaded the whole mass of the Spanish people, began naturally to appear in the country, and to assert for itself a place, which, in some of its forms, it has successfully maintained ever since.
What, however, is thus essentially popular in its sources and character,—what, instead of going out from the more elevated classes of the nation, was neglected or discountenanced by them,—is, from its very wildness, little likely to take well-defined forms, or to be traced, from its origin, by the dates and other proofs which accompany such portions of the national literature as fell earlier under the protection of the higher orders of society. But though we may not be able to make out an exact arrangement or a detailed history of what was necessarily so free and always so little watched, it can still be distributed into four different classes, and will afford tolerable materials for a notice of its progress and condition under each.
These four classes are, first, the Ballads, or the poetry, both narrative and lyrical, of the common people, from the earliest times; second, the Chronicles, or the half-genuine, half-fabulous histories of the great events and heroes of the national annals, which, though originally begun by authority of the state, were always deeply imbued with the popular feelings and character; third, the Romances of Chivalry, intimately connected with both the others, and, after a time, as passionately admired as either by the whole nation; and, fourth, the Drama, which, in its origin, has always been a popular and religious amusement, and was hardly less so in Spain than it was in Greece or in France.
These four classes compose what was generally most valued in Spanish literature during the latter part of the fourteenth century, the whole of the fifteenth, and much of the sixteenth. They rested on the deep foundations of the national character, and therefore, by their very nature, were opposed to the Provençal, the Italian, and the courtly schools, which flourished during the same period, and which will be subsequently examined.